Wayne Mitchell, otherwise known as Wayne Marshall has been a staple figure in the dancehall industry since the early 2000’s. The singjay began to exude his passion for music at his Alma Mater Wolmer’s Boys’ High School. It was there where he would freestyle and mimic his idol and soon to be mentor Bounty Killer over desks beaten as a substitute for drums.

Wayne Marshall would soon begin to record with childhood friends Jam2 and Baby G, the sons of legendary record producer King Jammy. He would also get scheduled voice training from notable vocal coach Georgia Schleiffer.

At King Jammy’s Wayne Marshall would befriend Ward 21 with whom he collaborated so much that persons were of the impression that he was a member of the group. Soon the chance came to collaborate with Bounty Killer and the result was the Trilogy Riddim standout When the Smoke Clears. After this collaboration and his first tour in the United States with Bounty Killer and the rest was history.

TEENage: What is the difference artistically between Wayne Marshall during the When The Smoke Clears era and the Wayne Marshall presently?

WM: More of an understanding of the music itself. Music in theory is complex but in practical is simple. I’ve learnt to grasp keys, tones, pitches and music composition.

TA: Being a singjay, do you think that’s the best route to use to cross over into the international market?

WM: Yes I believe so because of the melodic advantages singjays have. It’s easier for persons to understand sinjays in the foreign markets as opposed to hardcore dancehall artistes. Serani’s No Games and the melodic choruses by Shabba Ranks and Sean Paul in his singles are just examples of this.

TA: Fans used to look forward to your witty pun songs, why have those songs ceased?

WM: (Laughs), I don’t really go to the studio with the set purpose of making a pun song. Pun songs usually come about when I’m socialising with others and I hear a pun that I think can transition well into a song.

TA: What do you think accounts for the bipolar makeup of Jamaica’s music industry, with two major players (Alliance and Portmore Empire) being the most popular amongst dancehall music fans.

WM: Fans can only digest what they hear, so the media outlets account largely for this. The music industry needs to have a turning point where we can all come together and make a unified push for the betterment of everyone who is apart of it.

TA: What’s the latest development for you career wise?

WM: I’ve started my own record label called True Music. I’ve also began to delve into music production, the first song being my collaboration with Ding Dong called So Superfly. I co-produced the record after receiving the instrumental from Rahk Musik.

TA: What are the new recordings TEENage readers can listen out for?

WM: Persons can listen out to my single Memories produced by Washroom Entertainment, a collaboration with Bunji Garlin and a collaboration with Tarrus Riley and Damian Marley titled Not Giving Up.

TA: What new artistes are you currently listening to and think that TEENage readers should listen out for?

WM: I’m listening to Chedda, Richie Loopz, T-Nez and can’t forget Colly C.

TA: Any advice for upcoming artistes?

WM: Step up to the plate, stay original and don’t try to follow what everyone else is doing. Create and understand your own vision and that there is a greater reward when you break down walls yourself. Always remember you only get out what you put in.